Arika have been creating events since 2001. The Archive is space to share the documentation of our work, over 600 events from the past 20 years. Browse the archive by event, artists and collections, explore using theme pairs, or use the index for a comprehensive overview.
A 101 panel on sex work in Scotland, hosted by Scotland for Decrim and National Ugly Mugs
Emotional fantasies, towers of cakes, identity troubles, collapsed distance and time and Samuel R. Delany’s rarely seen 1971 film The Orchid.
Two bottomless brunch writing workshops—with readings—speculating the relationship between space, infrastructure, technologies and sex.
When one calls a strike, who hears the call, who attunes and listens to it? How to listen to the call of a strike? What prevents one from hearing this call or stops one from listening to it?
The Cube is a 6 hour performed installation in which sound and image are treated as independent but equal, where musicians and filmmakers sit alongside each other, improvise to and feed off both projected image and amplified and acoustic sound.
A film installation as both allegory and investigation of The Rockridge Institute and their research into ‘framing’ and the use of metaphor within political discourse.
A performed, open, public conversation about how we might think politics from the position of intuition, in which Denise and Valentina use un-reasonable tools to map out a hybrid poetical/ ethical reading of their own situations.
The pieces in the programme switch between silent film/ imageless sound, but we wanted to have a think about how ideas can take up residency on either side of the sound/ image border, without having to inhabit both at the same time.
The Experimental Improvisers Association of Japan, [EXIAS-J] are a loose collective of musicians and dilettantes who seem to represent an entire and self sufficient scene in one band.
Hartmut is going to talk a little about his work at large and the politics of how his films are constructed. And we’ll screen one of his best films: B-52.
The Songspiels take on a mode of musical theatre developed by playwright Bertolt Brecht and composer Kurt Weill in the early twentieth century, presenting political and social concerns through the accessible and (often funny) form of song.
Introducing and setting intentions for a crip grief transformation and witness altar. A place to sit and breathe, remember our dead, wash our hands and leave offerings to and for loved ones we’ve lost – and for ourselves.
